With interlinear glosses and a few longer scholia. Following the main text, there are on ff. 24v–25v also sketches and diagrams relating to it (illustrating e.g. the four elements, agricultural implements, celestial bodies, the zodiac). The sketches may be compared to the illustrations in the Venice print edition from 1537: Trincavelli (1537), f. CXIIv.
f. 9v is blank. The text continues on the next page without interuption.
With interlinear glosses. The poem is written as a carmen figuratum in the approximate shape of a flute, and includes a frame, a bell at the top end, and eighteen tone holes set in the middle of the pipes.
With interlinear glosses and commentary. The main text and accompanying paraphrase are connected with the help of reading signs. The rubricized title of the paraphrase, which is given in code, would in plain read Πυθαγορικῶν χρυσέων ἐπῶν φράσις.
Main text always 24 lines per page. In the commentary surrounding the main text there are around twice as many lines per page.
(ff. 1r–30v)Nikolaos Gaitanos Marulos Responsible for all the main texts, and most of the paratexts including rubricized parts, commentaries and glossae. He uses an even, slightly right-sloping humanist minuscule in the style of Camillus Venetus (so-called Camillus-Schrift); cf. Harlfinger (1977), pp. 336–337, plates 16–18.
(ff. 28r–28v) A sixteenth-century minuscule hand, probably responsible for the Syrinx paraphrase, the second paraphrase to the Altar (i.e. the one to the left on (f. 28v)), as well as the note in the lower margin on the same page. Note the use of the ‘Fähnchen-Tau’, in conformity with the main scribe.
(ff. 1r–18v) Scattered glosses in a cursive minuscule hand, mainly in the outermost margin and occasionally in-between lines.
(ff. LCI, SL1r–SL1v)
Blank except numbers and former shelfmarks: on (LCI) a paper slip with the number ‘II.’ on it; cf. the former shelfmark, ‘n:o 11’, on (f. 1r).
Rubrics and initials in red ink on (ff. 1r–25v) and (ff. 29r–30v). On (f. 1r), (f. 12r), and (f. 29r) larger decorated initials (6–7 lines high) and a headpiece with a vegetal pattern consisting of convolute hairlines, buds and curlicues. Similar but smaller decoration and initial on (f. 30v). Red ink is also used profusely for comments and interlinear glosses.
Pen-drawn illustrations and a diagram on (ff. 24v–26r).
Pattern-woven silk cover in gold, green, and beige over paper boards. No endbands. Brokatpapier in green and copper is used for pastedowns. For the identical pattern but in different colours, see Heijbroek (1994), p. 120; pattern N:o 72 (manufacturer Georg Reimund, Augsburg, who was active 1746–1755).
The spine is badly worn and damaged, the boards now being held together provisionally with the help of a slip of brown paper pasted aroung the spine. The bookblock has come loose completely. A lending slip that used to be pasted to f. SL1r is now unstuck.
Probably written in Venice in the 1540s. Watermarks and the handwriting (in so-called ‘Camillus-Schrift’ style) may suggest a link to the workshop of Bartolomeo Zanetti. Its present binding stems from the mid-eighteenth century.
The manuscript was acquired by Jacob Jonas Björnståhl (1731–1779), most probably during his travels through Europe in the years 1767–1779. That it would, as is the case with several of his other manuscripts, have its provenance in one of the Thessalian monasteries, is perhaps less likely given its rather costly binding in silk and brocatpapier.